F31.ER4SE

This project turns the clinical gaze back onto itself, as if reflected in a distorted funhouse mirror. Nothing here should be taken literally; metaphor is allowed to speak through abstraction. Conceived in the aftermath of a misreading that attempted to overwrite two decades of lived experience, the series inhabits the quiet violence of administrative certainty. These digital camouflage paintings begin as stable surfaces — ordered, neutral, almost bureaucratically correct — before drifting into discrepancy. Shapes misalign, colours fracture, logic weakens. What presents as pattern becomes process; what presents as structure becomes symptom. These works do not depict the system. They reveal its workings by letting the camouflage collapse from within.

Through simulated paint, digital fracture, and procedural interference, the images move from legible pattern to unstable terrain. Camouflage — normally a tool for concealment — becomes a vehicle for exposure. The palette shifts from grayscale authority into chartreuse intrusion, then into ruptures of deep aubergine. This colour drift mirrors the diagnostic uncertainties that prompted the work: the erasure of a long-standing diagnosis, the collapse of coherence in the written record, the reduction of complexity into shorthand descriptors that fail to account for lived reality. In these images, patterns break not for drama, but for truth. The system’s contradictions surface as formal events: adhesion, misfire, glitch, overflow.

The series unfolds like an audit of institutional perception. It reflects a world in which misdiagnosis is not an aberration but a structural outcome; where language produces harm through indifference; where the line between interpretation and error dissolves. F31.ER4SE refuses narrative and rejects autobiography, but it carries the emotional voltage of its origins. What remains is neither confession nor complaint, but a precise, subliminal statement: the system misread, and the residue of that misreading is now encoded in pattern, colour, interference, and drift. These 18 synthographic artworks form a new kind of psychological landscape — one in which the damage is abstract, the truth is structural, and the image becomes the only reliable record.